#but i don't have much experience as an artist so

[whathorselegs]

I don't think Chuuya would ever be jealous of Dazai finding a new partner in Kunikida. However, I do think at first, he'd be resentful he was 'replaced' by someone as boring as an uptight pencil pushing nerd. If Dazai was going to find himself a new partner, he could have at least put the effort into finding someone with flair, with gravitas.

That is, until he actually finds out more about Kunikida. What a good martial artist he is. Kunikida might not live for the fight like Chuuya does, but he's down to get his hands dirty in fight and Chuuya admires that.

How loyalty to his own and protecting his friends is so important to Kunikida that he's willing to put his life on the line to keep others safe.

That Kunikida's sense of justice comes his own experiences and morals and it's not just what society tells him they should be.

Okay, yeah, Kunikida's still kind of a nerd, but he's efficient, perceptive, a quick thinker, he puts that academic nonsense Chuuya doesn't really care for to use out on the field.

And Kunikida can be pretty terrifying when he wants to be. Chuuya physically shuddered when he heard what Kunikida pulled to defeat Akutagawa. Both from his own awful memories of being electrocuted, but also a strange thrill, an excitement at the idea of going to toe to toe with someone so resourceful in a fight he's physically outmatched in.

And the resentment changes into admiration. In fact, Chuuya's starting to think Dazai doesn't deserve such a partner.

The next time the mafia and agency work together, Chuuya starts paying more attention to Kunikida than he is to Dazai.

Kunikida is oblivious, after all, he doesn't really know Chuuya. He's just happy to find a person from the mafia so cooperative for once. It's making the case go much more smoothly. He doesn't realise it's because Chuuya's actively trying to impress him.

And Dazai comes to the horrifying realization that Chuuya shamelessly is trying to poach his partner from him. Right in front of his eyes. Well, he can't have that, he will not be out done by Chuuya.

[yuurikatsukienthusiast]

⭐Happy birthday to Yuuri Katsuki, one of the most well written fictional characters of all time.⭐

It's heartbreaking to me that his story was cut short, especially when we all know how much there still is to tell.

Yuuri's character has changed and inspired me in so many ways. I don't think I've ever related to a character more in my life. He's by far one of the most well made depictions of anxiety, and his experiences within Yuri on Ice perfectly display how it can affect your life, career, dreams, and relationships. But he also shows that while that anxiety never disappears entirely, there are ways to keep it from consuming you and holding you back. I think that message is beyond important. He's such a fun and goofy character, but he's also a character who struggles. His writing is honestly a work of genius.

He deserved so much more. I think we as a community can all agree on that. There's still so much about Yuuri we were never able to learn. I mourn every day knowing that. It deeply saddens me that we never get to see him win a gold medal, and that Victor never gets to kiss it. We don't get to see him win those 5 world championships he promised to Victor, and we don't get to see him marry the love of his life. It breaks my heart knowing how much is still untold.

This fandom truly does survive off of fan works, so thank you to all of the artists and writers who have continued to keep Yuuri's character alive through their works.

There's still so much I'd love to say, but I somehow still struggle with fully encapsulating my emotions about these characters into words. So I'll leave it here for now.

Thank you, Yuuri, for bringing joy into the lives of so many. And happy birthday! 🎉🩵🎉🩵🎉

[makiitabaki]

Finally answering this:

Thank you, @saintjustitude for asking me to rant—I adore doing just that :]

(First of all, thank you to everyone for waiting. I know I took a lot of time to write this, but I had only around an hour free every day, and I usually spent it searching for sources. My knowledge is limited; the play isn't available. I rely on memoirs, interviews, and reviews. 

My inbox is always open, and if anyone has any Wojtek questions, I'd be absolutely delighted to answer them. And I mean it. It can be anything. 

 Every quote was translated by me. All my sources are listed.

Unfortunately a part of it wasn't saved, and I don't have access to some info anymore but this post will probably serve as the beginning of a longer thread.)

And now: “Sprawa Dantona” (1975).

1. How did it all come to be? Why was ‘The Danton Case’ and not any other play?

When I say ‘Danton’ directed by Wajda, most probably think of the 1983 version, a political metaphor: Comsal representing the Polish government, Dantonist representing Solidarity. Was it like that originally? Was Wajda just calling for a fight with the government, transforming Przybyszewska's work to fit his own narrative?

In short: No! (At least if we're referring to the 1975 version, the film is completely another story; I'll gladly make another post about it.).

Zygmunt Hübner (I have mentioned him already in this post) chose Wajda to direct the play even though the latter was a relatively young director; something was telling Hübner that giving the play to him would be absolutely necessary. Pszoniak later referred to that event as Wajda being cast in it as much as he himself was.

The play was simply a way to introduce the artistic team Hübner created. There was none of some “noble patriotism’ or 'anti communism'. (None of what Wajda described as the purpose of the later film.)

Why was that play in particular chosen? That is unknown.

“The idea [of exhibiting that play] came from the fact that Hübner was looking for a play (…) that would present his artistic team as a whole, which he assembled with great imagination and intuition.”

At first, Pszoniak laughed into Hübner's face when offered the role. He thought it fine, intruiging, but the character of Robespierre was so foreign to him that he couldn't give anything from his own person or his own experiences to his Maximilien.

He asked for the role of Danton; that role seemed to fit him way better with "his [Danton's] sensuality, his dynamic physiognomy, and his balls."

Wajda and Hübner were quite insistent and more or less forced Pszoniak into the role.

“Hübner and Wajda were so stubborn that they did not take my objection into account. Nothing there [in the role] suited me; there was no starting point for the role. I had no right to play it. But they convinced me for so long that the whole situation with ‘The Danton Case’ became a dead end.”

The transformation from simply a good play to something entirely political in Wajda's eyes was very slow but steady. On that a little later.

2. Pszoniak wasn't ready to play Robespierre? How did he prepare for the role then?

It's very important to note that it was not bad will that made Pszoniak initially refuse the role, but the theater typecast he was put into and which he almost got used to. All of his power and stage presence were connected to his own physicality, to this sort of mobility and expression that he had to (presumably at Wajda's request) abandon while playing Robespierre.

Wojtekspierre getting his hair cut from a man with surprisingly modern glasses

Whether he was in a tragedy or comedy, it was the unique liveliness that made him so different. Suddenly he was offered the role of Robespierre, a man he only knew from unfavorable history books, portrayed a certain way by Przybyszewska, and he's made to stand before the expanse of that character's personality in a try to make him someone physical.

While it might seem quite shocking, when preparing for the role, Pszoniak didn't even read any Robespierre biography. Why? According to him:

“I didn’t think at all about a historical figure, and besides, you can’t play any historical figure. I put aside the books on the French Revolution. I read them much later, when, years later, in Paris. (…) I didn't want to portray a historical figure, so I didn't judge or evaluate him. I simply tried to get closer to him, to understand him as a person. Przybyszewska herself made it easier for me. The text of the play clearly indicated that she was fascinated by him. (...) Przybyszewska constructed this character in an unusual, enigmatic way. I clung to this fascination, it was a reason for treating Robespierre with empathy. This is a necessary condition for creating a character, without empathy you will never be able to get closer to the man you are to become on stage. Wandering through the labyrinth of his emotions, motives for action, opinions he expresses, I became so strongly attached to him, he took over me so much, that as a result I became Robespierre-Pszoniak.”

Pszoniak admitted he didn't want to play a politician [but, of course, as we all know, he was later forced to in ‘Danton’ (1983)].

The preparations took time and patience (especially from his wife - Barbara). Pszoniak tends to describe it as a painful process. Robespierre's physical expression was compared to being bound tightly by his own flesh, almost imprisoned by it, but freed by his mind. Pszoniak realized that all of the power in portraying Robespierre could only be gained from a deeper reflection. How to show a mind on stage?

That Pszoniak didn't know, and so he made the decision to show Robespierre's determination and faith instead of simply a calculated brain. To show a path, an objective. That's why the last scene was so hard to play (conversation between Robespierre and Saint-Just after Danton's death); he even asked Wajda for a white cloth as a makeshift shroud. To Pszoniak, that scene meant the symbolic death of his character. Robespierre (described by Pszoniak as a “very intelligent man") feels that inevitable peril awaits in the near future. The actor often described a feeling of mourning something or someone after the performance.

The challenge of creating the role, in the words of Wojciech Pszoniak:

“I started to control all my reflexes morning till night; from waking up to falling asleep, I was destroying myself. In everyday life, even the smallest activity, I slowed down; I was reducing and cleaning up [every one of] my habits. Torment, the absolute torment of controlling yourself, of managing yourself. Zero spontaneity, the phone rings, my first reaction—run to answer it—I stop myself calmly, in control of every slowed-down gesture. I imitated Zygmunt Hübner's focused gait; I noticed how he placed his feet. And I started walking like that myself. That's how I set a different, more controlled way of moving. After that, I turned to gestures, head movements, the way of getting up, and gesticulation. I felt that I was different. Acquaintances and friends both asked where this change came from. I suppressed the dynamic, extraverted myself.”

And

“I was pushing the boundaries of supervision [over myself], checking how I would behave after drinking a larger amount of vodka. One day I went out with Basia [wife] and friends (...) After a few bottles, at four in the morning, they were amused, cheered up, asking if I was sick because I was behaving like a machine. After three weeks of suffering, I reached ground zero. This happened during the rehearsals. A conversation about Robespierre and Danton. I joined the discussion, exclaiming, 'I disagree!’ - and suddenly I saw that my hand was no longer my hand, that it was not the hand of that Pszoniak that I am, but that it was already a hand—the beginning of someone else.”

3. What of Danton?

Here the problem with the play began. The man cast as Danton, Bronisław Pawlik, was just... terrible.

He was a good actor in general, definitely, but in short (explanation for the anglophones), it was like casting Danny DeVito as Danton.

He was short of stature, weak of voice, much older than Pszoniak, and simply unfit for the role.

He didn't have a stage presence; his voice was silenced by the other people on stage, and Pszoniak kept acting as if there was some great, dangerous opponent when there wasn't—the audience seemed to notice it.

It all added to a kind of feeling of resentment after preparing so long for the role of Robespierre.

Danton (Bronisław Pawlik), Camille (Olgierd Łukaszewicz) and Westermann (Franciszek Pieczka) celebrating

Pawlik was more concerned with the position of the props or the costume instead of conversing and shaping their roles. To Pszoniak it was the role of a lifetime, to Pawlik it wasn't.

“The audience was sitting on the stage because the entire theater had been transformed into the Revolutionary Tribunal. Here, a powerful voice and a [kind of] broad gesture were needed... Pawlik's charm disappeared in the feverish crowd. What consequences did this have for the play? Enormous, Danton was deprived of the strength [for both the audience and actors] to believe that he posed a deadly serious threat to the revolution. And this lack bothered me terribly...”

4. How did it become political then?

As I have previously mentioned, it was a slow, steady process. Even Wajda himself didn't think much of the play; it was the audience that began the change. 

As the first example, Pszoniak recalls a scene when Eleonore comes in with tea but not sugar—in the audience at first only a few laughing, but gradually along with the many performances it turned into the whole audience cackling. The play was exhibited just when a time of increasing problems with sugar supplies began in Poland (food stamps for sugar were introduced).

Pszoniak admitted that the cast would often laugh along with the audience. It seemed almost absurd—a tragic play blending with the real world. 

When it comes to Pszoniak himself in that time, the more he played the role, the more it felt like “punching the air.” Instead of having a genuine conflict, he had no support, no reference point in Pawlik as Danton or the audience. For the role to have meaning, to be something, it all had to be a matter of life and death. His co-actor was slipping into comedic grotesque while playing the second main role. 

"The success of the play was huge, but the audience was eager to read the play [only] in the context of political allusions. (…) The audience felt that something was happening [on and off stage], (…) the tension grew."

The audience's reaction seemed to be a direct answer to the Danton shown on stage. Instead of a political opponent, there stood a sad, tired victim of the committee who seems completely and utterly innocent, all his words said with a kind of saddened charm (doesn't that remind you of a certain film Wajda made later?).

5. What of the other actors?

Here is where I have the least information. If anyone has any more sources of information, actor memoirs, etc., feel free to reblog this post with additional info or simply contact me about it so I could make Part 2. :]

The cast.

I have to tell you something shocking... Wajda is capable of giving actual, normal characterization to secondary characters (gasp, thunderstrike, wolf howling).

Or perhaps that was just the actor/Zygmunt Hübner (I guess we'll never know).

The most information I could gather was about Saint-Just (played by the excellent Władysław Kowalski).

Based off the limited amount of reviews I could gather, he was a positive character in general. Described as “a man gifted with exceptional warmth and [someone] unconditionally devoted to his cause” or “full of raw passion."

AND HE GIVES MAXIME FLOWERS IN THIS VERSION AS WELL, EXCEPT IN THIS ONE ROBESPIERRE (KIND OF) SMILES!

I couldn't find much on Eleonore, Louise, or Lucille, though I've searched and searched for a few days. All I could find is that the actresses were excellent—that is, unfortunately, no source of any relevant information. Frankly speaking, since Wajda, in kind words, doesn't excel at writing women, I don't have much faith in their characterization on the director's part.

Camille played Łukaszewicz is usually called a “complicated youth"—that is, of course, an opinion—or “spontaneous in reflexes"—that's a bit better of a description. As you can see, I am limited by the fact the play isn't available, and I must depend on biased or subjective sources.

Worried Camille Desmoulins (Olgierd Łukaszewicz) - I do think this Camille looks quite nice.

6. And did the critics like it? Was it well directed?

In short, it was a very, very liked play by both the critics and the audience. It ran for 5 years; it ended around 1980, when many of the actors simply left Poland.

About critics and reviews written by them: What surprised me immensely is the fact that most available reviews (written before the release of the film ‘Danton’) of the play weren't anti-Robespierre. The play is often described as something of a moral discussion, something for the viewer to assess, a work that doesn't suggest one solution to understand the conflict, or revolution (in other words, a great play).

A thing I've noticed is that along with time, the descriptions of the main characters seem to change. Danton—in earliest reviews described as “absolutely repulsive," then later as a tragic man, someone who adores life. Robespierre—in earliest reviews described as an absolute “marble statue," an idealist, someone pure, then in later reviews as just a fanatic.

 

7. What about Wajda? Did he change the text much? What about the scenography?

I was surprised to learn that Wajda absolutely could make a good, Przybyszewska-accurate play.

 

From all I could find, there is not much I can accuse Wajda of when it comes to ‘The Danton Case’ stage adaptations. It was made very well. What most likely contributed to the later change in people's mentality when met with the play is the fact that the audience was sort of a part of the performance. How? Like this:

“It [the play] takes place on a stage placed in front of the audience; on the actual stage and in the rest of the audience sit in rows of chairs rising upwards. Everything encompassed by the scenography is one theater. This played out brilliantly in the second parts, in the beautifully composed group scenes, where the audience not only looks at the stage but is drawn into it as an extra audience at the hearings of the revolutionary tribunal.”

And

“Wajda made "The Danton Case" as if against himself—against his previous self: he gave up on visual effects, music, and symbolism. He built a spectacle—a spectacle indeed!—raw and beautiful. (…) During the (…) presentation of "The Danton Case," seats for viewers were also installed on the stage, which was fortunately spacious, the audience surrounds the actors, the actors are among the audience, on the balcony, in the passages.”

If Danton or Robespierre were so close to the audience, I think it really did influence the people's opinion of it later on. Pawlik was terrified, jumping like a fish out of water from one audience member to the other, and there was Pszoniak, white and still under his shroud just a few meters away. That did certainly change the performance's reception.

8. Where can I watch this?!

As I have mentioned here: the play isn't available online, but most certainly is somewhere in the archives (confirmed by Pszoniak), when it was supposed to have a TV debut the martial law was introduced, and a few years later everyone seemed to have forgotten about it.

So, erm… Who's raiding the archives with me? (By the way, fragments of the play exist online, but only 10-20 minute excerpts, so if I find the time, I'll try to track them down.).

Sources:

Books:

Aktor. Wojciech Pszoniak w rozmowie z Michałem Komarem, Wydawnictwo Literackie 2009;

Maciej Karpiński, Pszoniak, Wydawnictwa Artystyczne i Filmowe Warszawa 1976;

Małgorzata Terlecka-Reksnis, Pszoniak. Fragmenty, Wydawnictwo Poznańskie 2024

Photos used and play reviews (pardon the rhyme):

http://encyklopediateatru.pl

[the-technorats]

ok ive been wanting to post abt this for a while. i think a part of the reason that i started to grow away from the 1d fandom recently (and more into 5sos, actually, which will be relevant later) is for these exact realizations. it became pretty clear, during the band's lifetime but mostly once the band went on hiatus, explicitly and implicitly, that being in one direction was extremely unhealthy for the talent involved.

and so not only did it become a kind of moral dilemma, bc how do you support and love something that you know is abusive, but it ruined the mirage of the essence of the band, which was, as louis put it, about having fun and being normal guys but terrible, terrible dancers, because you knew that under the surface of their silly, goofy live shows they were probably not having that much fun all the time and were definitely at points in either physical or mental anguish or both at once.

it feels so disillusioning because their primary appeal to their fanbase wasn't that they were like, hot or whatever (though they were and that was definitely part of it (but also their fanbase was so fucking queer that that metric could only do so much)), but it was that they were friends. the explicit marketing was sex appeal, sure, but the implicit marketing was community.

we wanted to think they were having as much fun as we were, that they loved being in the band with each other as much as we loved them. and once they broke up ("went on hiatus") and people started realizing they weren't quite as good of friends as we all thought they were, that they were coworkers, that they don't even have each other's phone numbers, that's when it didn't feel as good.

which is interesting. we all wanted so badly to be convinced that what we all knew was happening wasn't.

i think we desperately want that. as 1d put it: to be loved and to be in love. and we want to think that friendship and community and love can withstand anything, no matter how abusive and oppressive. because we want the hope that in our own abusive and oppressive life, our community can carry us through it. we're like, fantasizing about unionization and collectivization in a way that feels safe. and no one wants to hear this, but this IS a weapon of which we (and your faves) are victims.

like, god, if the success of capitalism isn't that it makes you think you want it. people want community? people are realizing that collective action is what overturns oppressive systems? give them this. this band of boys from working class backgrounds who love each other and made it to superstardom through nothing but the power friendship and love and art. give them that experience through an artificial projection of community that only ever makes you complicit in the commodification of yourself and your artists. the strongest sedative is the one you already want to take.

and if that isn't the reason 1d were doomed to fail. because they were created by the exact power that people want to push back against. you can't eat your young and have them too.

if being in one direction was all sunshine and rainbows, the boys would have come back after that hiatus and zayn would have never left.

behind closed doors, those boys were suffering.

it kills me that i never saw that because all i saw was that they made me happy and surely they were happy too.

that couldn't have been farther from the truth.

this is killing me

[blueteller]

"Necromancer Heals the Holy Maiden" – TCF chapter 137

Ah, Mary & Hannah, my beloved girls!! 💖 I've been working on this fanart for so looooong, but I finally did it!! 🥳 There isn't nearly enough fanart of neither of these two, in my humble opinion. So, I decided to draw a scene with them, which I haven't seen drawn by anyone else yet. (...If someone has tho, please let me know, I'm curious!!)

In general, I feel that the significance of these two characters (three, including Jack) is severely overlooked by the fans. This was the moment which decided of the fate of the entire Mogoru Empire, and with it, the fate of basically the entire Western Continent.

If it wasn't for Mary helping the Sun Twins, they wouldn't have survived. If they didn't survive, they wouldn't be able to revolutionize the Church of the Sun God. And without that, the dark creatures would never become accepted again. In a single act, Mary changed the fate of all Dark Attribute users in the world. It's truly poetic, how a Necromancer managed to heal her very own natural enemy; and with it, and save countless other lives 💖

[xitsensunmoon]

My first ever comic con! And first cosplay too. Of course it's gonna be my boy :] Ramblings about the process are under the cut(Let me know if?? You would want me to elaborate with process images for any of the steps?)

The costume took me forever to make, as I've never done any machine sewing, sculpting, fabric dying or spray painting before but learning all of these was so fucking fun!! I never realised just how many different skills go into making a cosplay but it was so worth it!!!

Almost all of the clothes(except the hat) were purchased first as bases, but all of the detailing was added by me. All of the fabric used was originally just scraps that I was given for free so I needed to learn how to dye and dye all of the stars, they were originally white.

The sewing machine was its own beast that brought me tons of frustration from the lack of skill and knowledge (it was devastating to find out that 95% of fuck ups were my fault and not the machine's lmao). But as a result, a hat sewn from scratch, all of the fur trims, embroidery on the corset, stars and the collar(which is very hard to see on the pictures unfortunately) was all added manually. The stars and the stripes(on the back of the cape) were attached using heat-and-bond adhesive (I WISH I knew about such thing just when I started working on this. It would save me so much time and nerves.)

Then I found out about polymorph(mouldable plastic) and it has become the next thing I wanted to learn, to sculpt the claws and the fangs(yes, they're handmade jfksjs). The claws I then primed and painted in trillion coats because I wasn't satisfied with the colour of the spray paint. The fangs I moulded to my own teeth and then stained with tea to match the colour of my teeth :)c

As for makeup, I used Mehron Paradise water activated paints. At first I wanted to try to save money and bought myself Snazaroo instead, which unfortunately turned out to be a waste. Snazaroo didn't hold on my face for longer than 2 hours, cracking and peeling awfully. Mehron on the other hand survived 11 hours of me smiling, talking, emoting and such and didn't even crease at the smile lines(I'm actually shocked about that). It obviously works like any other makeup which means your skin texture and wrinkles won't go anywhere but Mehron's elasticity pleasantly surprised me. It did obviously smear from sweat and saliva(if you're eating and licking your lips) but if you don't touch the skin it just dries again, self setting. But if it's dry it's fully smear-proof. Highly recommend!

And last but not least, I've decided against painting my hands as it was very risky that I will stain everything I touch at the smallest hint of sweat. So instead I got myself gloves-tights(? Not sure how they're called but it's made from the same fabric as tights) and painted them with normal acrylic paint(did you know you could dye fabric with acrylic paint? I personally didn't), then heat set with an iron and voilà, they're reusable, my hands are not stained after an exhausting day and I don't stain everything I touch. It worked wonderfully which honestly was a surprise as I was really sceptical that acrylic paint will somehow stay in place.

I think this whole thing took me minimum of 6 months with big-big breaks for my school and life in general. But I'm really proud! This project taught me so many new skills and I couldn't have been happier about learning new knowledge, even if it sucked to fail in the meantime.

Everyone at the con was really nice and gave me a large confidence boost even tho it was my first time and I had no idea what I was doing. Taking photos with other people was really awkward/new for me as I hate cameras so I really had no idea how to pose/behave in front of one. But that's okay I think. This whole experience definitely made me want to do this again, so I think that will come with experience. Thank you for reading this far, hope you enjoyed this little summary :)

[lunar-years]

While I do think it's kind of a weird marketing choice for the Sour and Guts albums to seemingly have near-identical aesthetics, I also think swifties have a weird tendency to impose "eras" on every single artist. like sometimes pop artists just want to keep making pop albums that fit the personal aesthetic of who they truly are not everyone wants to completely reinvent themselves and their sound and their vibe every two years xx

[mysticgeekzartz]

That moment you make a YouTube sprite

So I decided to test out making YouTube talking sprites for my videos So I decided to use my wonderful welcome home OC, Eve as a starter while I'm making my persona that I want to represent myself with It's not as detailed as my other works because I'm just testing it out testing the waters to see if I like doing it in this format or not And if I do I'll make a more detailed version with more poses because right now this is just her idle pose I do have her with different expressions in the same pose again It's a tester to see if I like it expect a YouTube video soon lol I decided maybe to update with some actual art this time around because lately my posts haven't had art in it so here's a little teaser lol enjoy

[sharksonfire]

Ik Pyro is from Sydney in the comics (most likely Woolloomooloo specifically since he mentioned his grandma lives there) but I have a really in-depth headcanon about him being from somewhere in Tasmania (in-depth enough to include animal motifs and broader historical things lol I thought about this way too hard) and I really want to form it into a proper fic but I really don't think it would be that interesting to anyone other than, well, me...

[ilovedthestars]

I wasn't kidding when I said I spent an hour just trying to sketch out the pose for this drawing! Sometimes you just gotta go through like 8 sketch layers to figure out what you're doing.

I also ended up looking at two references--this one from The Pose Archive, which I traced the legs from after struggling for a while to get proportions that looked right, and a photo of myself that I asked my roommate to take so I could figure out what to do with the arms. The process got significantly faster when I remembered I could use references and started working with them.

I think it's good to show some of the behind-the-scenes of your artwork every now and then, both because process is cool and because it removes some of the sheen of "whoa, i could never make that." I know I get discouraged at times by artists who "make it look easy," when really I can't see all the time and hard work that went into making something. I don't want to create that feeling for anyone else!

So, here's a glimpse into how much I struggled to get the pose right, and below is the timelapse where you can see how much I fiddled with the colors until I had something I was happy with. It was probably at least two hours of "i am spending way too much time on this" and "why does this still not look right" before I got to a point where I started thinking, "wow, this looks good." But I got there eventually, and I'm really happy I stuck it out!

[sysig]

How is skeleton shaped (Patreon)

[spacebubblehomebase]

Love your art!I Know what it feels like to be an artist I'm one myself and let me tell you its hard,because everyone says your art look good but when you stare at it to long all you can see are the flaws

Haha! The way I feel this in my SOUL, but ty.

It's exactly because of this that I regret to inform everyone that due to demand, I am only able to answer a handful of Asks at a time between updates for my AU. It's the only way I could keep up between posting schedules and my real life commitments. Rest assured, I'll continue to read them all even if I'm not be able to answer them at the time. Still, there's always a possibility that I would do so in the future, so don't be afraid to send them my way and let me know how you guys feel about my work! Art really is a tough passion to pursue, but having you all enjoy them makes the hours I question if it's even worth it, well... worth it and I'm grateful for everyone's patience with me so far! TvT

-Bubbly💙

[a-scary-lack-of-common-sense]

Are you still doing disabled art? because I would love to see Soldier with strabismus (it makes your eyes go in different directions).

Nope, unfortunately not as much these days! I sort of gradually fell out of the tf2 fandom, so I haven't drawn anything for it for a while, disabled art included. Which is a shame, since I have SO MANY asks in my inbox requesting more of the mercs with disability aids to this day (I'm so sorry for never answering those btw!).

[pocket-size-cthulhu]

Sometimes I read a poem and am suddenly reminded that there are so many poems out there, written and not-yet-written, that will hit me like a turbo punch to the gut. There are books I haven't read, shows I haven't watched, music I haven't heard, information I haven't synthesized, phenomena I haven't seen, experiences I haven't had that will one day come together in my mind in a series of satisfying snaps that fills me with warmth and love and the fierce joy of being alive in this moment to experience something like this.

This will always be true.

I have so much to look forward to

[caguaydreams]

Hm... never trust how you feel about your life past 9pm or however that goes and stuff, but sometimes I do be pondering what I do on the regular and it gets to me, the silliest things

[emdotcom]

I am not, like, a treasured fandom artist, & I didn't make some great masterpiece or nothing. I did make art, though, & I stopped around the time that doing that started getting harder -- I got busy, & the world got worse, & so did I. The few times I've tried to make a comeback were hard-fought, but the ratios are all off, now. The ratio of time spent to likes to reblogs to comments made me give up pretty fast.

I am not saying you owe an artist notes. I am saying that, especially for young artists that are learning, taking the time to reblog their stuff can make or break whether they keep posting it. I'm saying that the current artists are going to get old, or busy, & if you like looking at art or reading it or listening to it, you need to encourage that next generation now before they give up.

A like is fine, yes. A reblog is very much appreciated. A comment can make an artist's day. Please, please, please interact with artists who are giving you content for free.